He accepts and even SUPPORTS Keith in the role of their new leader. Fucking. Lance. “I’m not sure but I bet it’s Keith’s fault”-Lance. “Whatever, dropout”-Lance. “He’s a hothead; he’s probably gonna shoot first and ask questions later”-Lance. “Hasta la later, Keith”-Lance. “My biggest rival”-Lance.
This. Do you understand what this means?? It means that Lance shoved all of it aside: his initial dislike for Keith, his competitiveness, his rivalry, his insecurities. He shoved it aside and assessed the position from a neutral point of view and came to the conclusion that Keith has the potential to lead them all. From the later episodes of season 2 to the end of the first episode of season 3 Lance has grown up. More than that, even - he didn’t just realize that Keith has potential as a leader (willingly putting him in a role ABOVE him), he also realized that Keith needed emotional support.
And. He provided it.
Just. With this change in attitude Lance has proven so much. He was the very first one to change his role in the team to adapt to the new situation.
(Or: Things that everybody thinks make Sherlock canonically straight but they really really really don’t and why don’t you see that, because it’s so beautiful!!!)
Apologies to my Doctor-Who followers for this ongoing Sherlock intermezzo, but I just need to vent a little longer: I. Loved. Series. Four!!!
In particular, I loved The Final Problem. I loved Sherlock calling John family, I loved the smashing of the casket, the touching of non-existent glass, the air plane metaphor, Mycroft outside his comfort zone, etcetera etcetera etcetera. I loved the whole bloody thing.
But my favourite, favourite moment was the one when Eurus asks Sherlock to “play you”. And he plays the theme of The Woman.
Because it is the bravest thing Sherlock has ever done. And it makes this moment incredibly powerful.
I know you are happy for the Klaroline endgame but don't think that it is sad that Caroline was the only vampire left? She will live for ever or at least get to live for a more extended time than humans do and she will see everyone she loves die. It has already started. Her father, her mother, her husband. She will outline her children too. How is that a good end for her?
How is it not?
Let me start by saying that despite JP’s obsession for turning TVD into a human soap this show was originally based into the vampire mythology. It is meant to deal with vampires and their existence. The pros and the cons and the darkness and the grandeur and the immortality. Ships and endgames aside Caroline Forbes ending up the only vampire in a show that is meant to be based on the vampire genre is an honor and a homage to everything this show once stood for. Every vampire of the show faced the same destiny you describe here. Damon, Stefan, Katherine, the Originals. And yet when their stories began and they were introduced to the audience everyone took in their story expecting to feel their age and get to know their ageless journey throughout the centuries. No one complained about their predicament. Everyone wanted to get more into it. Either their story was tragic, or intriguing, or dark, or hopeful. It was interesting because the very concept of immortality is an unachievable dream that intrigues humans. So many writers get to write for Vampires, Demons, Gods, Immortals, etc. Because their stories are enveloping every hope and aspiration and tragedy and epic emotion a human can have and dream of. The unreachable. The impossible. Even something to sent the human soul straight to damnation. All those elements hide greatness and misery in them. And Caroline Forbes was meant to endure and persevere and become a Vampire. She relished in her nature. She owned it. She accepted it and craved the perks that come with vampirism. She would not turn to a human if she had the chance. She never wanted or expressed that wish. For the simple reason that she likes been strong, ageless, fearlessand she prefers who she is not to the girl she used to be.
On the other hand everything you describe in your ask are things that can happen in a human life too. So what happens then? You give up? You curse your life? You find no meaning to it? A person can outline others and can outlive even love and memories and things he or she never thought possible. Calamities and tragedy are part of life either that life is meant to carry on for a few decades or longer or less. It is what we do with our time and how we face the things that happen to us that make life worth it. It is even how we stand in the face of loss and loniliness. How we grieve. How we move on. How we hope. How we persevere and if there was one motto that Caroline Forbes ever had in that show was perseverance.
That does not take away the importance of the things you write in the ask. If anything they give more meaning to Caroline’s existence because facing these losses will make her live every day to the fullest. Will make her wiser. Will make her not lose track of time. Will make life have meaning.
Do you know who else also contemplated the very same thing you ask me here? How eternity would have no meaning? How it would suck? How it would be a source of depression. How it would take away and take away and leave no meaning?
Caroline Forbes did. In her birthday in season 3.
So much so that she did not want to celebrate her birthday and ended up giving a funeral to the human girl she buried behind.
And do you remember who exactly showed her that very same day that while life takes something from you it gives you something else back? That there is meaning to found in forever. Because truth is that loss will come and you contemplate giving up.
And I could let you… die. If that`s what you want. If you really
believe your existence has no meaning.
I`ve thought about it myself once
or twice over the centuries, truth be told.”
And let us face it. Who doesn’t think of that in their lives? In our human lives fantasy aside have we never thought of that very same question? Of how to endure with loss? Of how to go on? Of how we can outlast the pain and not break? How to hold on to people that leave us behind or we lose them by death or any other reason? There is always a time even for the most optimistic people where they think that life has no meaning or ask themselves what is the meaning of it all.
So here Caroline’s immortality is a parallel to what we face in real life because art in its own way tries to give answers to such questions.
So what is the meaning of it all? How could Caroline ever move on and why should she want to? Why would that be good for her?
Because with the loss there is also the gain. Because life is not black or white. It has endless colors and twists.
Imagine that. Let it sink in. Life does not end with loss or with pain. This is why we are alive after all. There is whole world is out there still waiting. Genuine beauty. And music. And art. And more birthdays. More chances. More dreams. More potential. More possibilities.
A thousand more birthdays.
Because life does not end with loss and misfortune. You do not get to sacrifice your life in the name of loss or lost love or broken dreams. Life moves on. With endless possibilities ahead. With optimism. You grit your teeth and you move on until you can smile again. Life continues with pain and loss and tragedy and laughter and love and joy. Because every turn gives you something and it is in your hand to take that something and make something out of it. Something for you. And this is why people still dream of immortality and want to live longer and crave stories of ageless creatures. And admire those tragically and gloriously beautiful stories. Because life goes on and is full of wonder. And people can only wish to be able to be bigger than life. With everything that includes.
Time is unrelenting and brings change and with it society and culture and life itself alters and people want to be there to see it. To experience it. To live it. Because people reading history and get fascinated by it and then dream of the future. And Caroline Forbes will be there to live all that. Maybe she will outlive some people and maybe she will carry their memories with her but she won’t outlive everyone. Because she will get to meet more people. She has endless possibilities ahead. To love again. To laugh again. To be an extrovert. To be an introvert. To find more questions and answers. Endless horizons ahead and this is why Klaroline and the idea of a vampire Caroline Forbes was always so alluring to begin with and enchanted so many people. Because it held the promise of eternal. The promise of however long it takes. The promise of genuine beauty. Because it was brilliant and ugly and the truth and the lie and it was about brutal honesty and manipulation and rage and soothing silence and it was challenging and unpredictable. Just life is.
And how important is to actually be able to grasp that? And by that I mean life. To have nothing more to do than ask? Because this is what life is. It is your choice. It is as good as you let it. Because you need to want to live it. You need to want to ask. All you have to do is ask. And then take it step by step. Let me say it again. Life does not end with loss or grief. Emotion is not finite. Relationships come and go. Love can be replenished or be found in so many places even unexpected ones. Hope does not end. Meaning is always in different things all the time if you only open your eyes. Pain does not last forever no matter how cruel and unforgiving it seems at first. You fight back and you live. And all you have to do is ask.
And this is one of the many reasons why I personally like Klaroline so much and why their endgame was so
important for me. Because of this very message that you sent me. Because
Klaroline began with the very same core of question you put in that
ask. Their very first defining scene was about what you ask me here and it answers your question perfectly. And that was
why I was so moved by Klaroline chemistry and potential aside. Because
of the promise of endurance. Because it was a promise of how Caroline
could live and become greater than life and …loss. This is how it all
And this is how Caroline will move on because this has been her origin story and not the end. It is only the beginning. But that is the beginning of another story.
So you tell me anon? How is that good for Caroline? Or for anyone for that matter? How is it good for anyone to actually live their life? To find meaning in that kind of existence?
I have a lot of feelings about this headcanon and I really need to
talk to you about this. Okay? Okay, good.
We all know that the metamorphmagus gene is in the Black
bloodline, right? I mean after all Tonks was a metamorphmagus and her
dad was a muggle, therefore she had to inherit the gene from
Andromeda, who’s a Black.
Now, what if DRACO had inherited the gene?
THERE IS A LONG ASS MOTHERFUCKING POST UDNERNEATH THE CUT.
Clint x Reader where she and Clint go on vacation and Clint gets lost and she flips out.
A/N: i feel like the avengers should not be let out of the base without supervision bc this is the 3rd (?) chat where one of them gets lost and i love it.
Clint has created a chatroom.
Clint has added Natasha, Bruce, Tony, Steve, Thor.
Clint: Guess who’s lost?
Clint: Lost again.
Clint: Clint is lost.
Clint: PLEASE DON’T TELL MY GIRLFRIEND.
Thor: I’M TELLING LADY Y/N
Clint: Oh c'mon! What have I ever done to you?!
Natasha: Thor, I don’t think it’s wise you piss me off any further.
Clint: Ohhhh snap, you made Tasha angry!
Thor: I do not fear for the Black Widow.
Bruce: Stop lying.
Thor: Fine, my
apologies. I shan’t inform lady Y/N that her boyfriend lacks direction.
There is no need for Lady Natasha to become angry… I doth not
Natasha: If Y/N
finds out, she’s going to freak out, and then Tony will start freaking
out, and then Steve will start freaking out because Tony’s freaking out
over Y/N freaking out, and then Thor will start freaking out because his
tiny humans are freaking out, and then Bruce will start to freak out
and then I will start freaking out because Bruce is freaking out over
Thor freaking out and Thor is freaking out because his humans are
freaking out and Steve is freaking out over Tony freaking out for Y/N
and Clint will leave the chat and disappear, becoming a hermit because
that’s better than being the cause for his girlfriend freaking out and
the team losing their minds. Now do you get why, Thor?
Right, I’m back and plan on reopening my asks soon-ish. Before I do that, though, I just want to address a few of the big dramas that unfolded in my absence. This is mainly so that I won’t end up addressing these questions through various ask replies, so if I don’t respond to your message it’s probably because I’ve said the last thing I’m going to say about it here. Onward!
As we have previously established thanks to a tweet from David Kamp with the full, unedited transcript of the excerpt of the interview pertinent to romance, the published Vanity Fair article did not fully reflect what Rian was actually trying to say about the question of romance in Episode VIII. The Vanity Fair article said this:
FIVE THINGS THAT ARE NOT IN THE LAST JEDI
A big, central-to-the-plot romance. For all the fan-fiction fantasies of “Reylo” (an imagined union of Daisy Ridley’s Rey and Adam Driver’s Kylo Ren) or “Stormpilot” (the same, for John Boyega’s ex-stormtrooper Finn and Oscar Isaac’s pilot Poe Dameron), Johnson says that The Last Jedi offers “no one-to-one equivalent of the Han-to-Leia, burning, unrequited love. In our story, that’s not a centerpiece.”
And this is what was actually said between Kamp and Johnson in the interview:
Now, what initially seemed to rule out any inclusion of romance in The Last Jedi actually suggests something quite different - Rian seems to be saying that he was keen to include a big, sweeping romance, but that when it came to it the characters didn’t seem to be in the right place for that to happen. He doesn’t at all rule out subtle traces of romance or flirtation (as Kamp highlights in his tweet), thus the classic ‘wait and see’-style response.
It is also very important to point out that the references to Reylo and StormPilot were clearly Kamp editorialising. While terms like ‘imagined’ and ‘fan-fiction fantasies’ sting to anyone familiar with all of the misogynistic BS female fans have to deal with for daring to be interested in the human relationships in these stories, as I see it the references to popular ships are simply there to provide context for the mainstream audience and boost SEO rankings. Rian Johnson has been very emphatic about distancing himself from Kamp’s phrasing, and the full quote makes it clear that no specific relationships were raised in the context of the original interview.
So, while I still think we need to be cautious and keep expectations for an overt Reylo romance in The Last Jedi low (as Rian says, there is no central romance plot in his film), I certainly think that the full quote should relieve the anxiety that love and attraction won’t be in play to some extent. Although I don’t think that we’re going to get a Reylo kiss (that’s my opinion re. The Last Jedi - come back to me after December to get my thoughts on Episode IX), it clearly isn’t out of the question that The Last Jedi will progress Rey and Kylo so that they are ready for a full-blown romance in the next film. I can’t stress enough that Rey and Kylo end The Force Awakens on different sides, with Kylo having killed his father and Rey having just slashed Kylo’s face open.
They both have huge personal journeys to go on (Rey has to come into her own in the Force, and Kylo has to wake up to Snoke’s evil and show remorse for his terrible mistakes) before they can truly go on a journey together. Essentially, to progress from the current state of affairs to a consummated love affair in the space of a single movie would, to put it mildly, be pushing it.
Speaking for myself, I would be ecstatic if The Last Jedi simply shows Rey and Kylo developing empathy and perhaps even compassion for each other. Rey has already defeated Kylo in a duel, so their journey together going forward won’t simply be one of antagonism - as J.J. said in his commentary (which was recorded after he had read the script forThe Last Jedi), Kylo is “a character who [Rey’s] going to have a very interesting relationship with moving forward”. In short, I have no fear that the dynamic between Rey and Kylo Ren is going to remain static or be less important going forward. Rey and Kylo are crucial to each other’s stories, and we have every reason to believe that Rian is honouring that.
These are the tweets that started the famous #PlotGate:
Now, this actually didn’t worry me at all. But why would I - one of the people who has written thousands of words analysing the minutia of The Force Awakens - be unconcerned by the suggestion that Rian could do whatever the hell he wanted in The Last Jedi? Why am I not freaking out when there doesn’t seem to be a plan for the trilogy?
Well, the simple answer is that I’m not alarmed because these kinds of sentiments are far from new. From the very beginning, the narrative has always been that each filmmaker has a considerable degree of freedom to tell the story they want to tell. For a great explanation of how the early development of The Last Jedi worked, see this quote from J.J. Abrams from November 2015 (particularly the bold bits):
The script for VIII is written. I’m sure rewrites are going to be endless, like they always are. But what Larry and I did was set up certain key relationships, certain key questions, conflicts. And we knew where certain things were going. We had meetings with Rian and Ram Bergman, the producer of VIII. They were watching dailies when we were shooting our movie. We wanted them to be part of the process, to make the transition to their film as seamless as possible. I showed Rian an early cut of the movie, because I knew he was doing his rewrite and prepping. And as executive producer of VIII, I need that movie to be really good. Withholding serves no one and certainly not the fans. So we’ve been as transparent as possible. Rian has asked for a couple of things here and there that he needs for his story. He is an incredibly accomplished filmmaker and an incredibly strong writer. So the story he told took what we were doing and went in the direction that he felt was best but that is very much in line with what we were thinking as well. But you’re right—that will be his movie; he’s going to do it in the way he sees fit. He’s neither asking for nor does he need me to oversee the process.
There are endless quotes from J.J. and Kathleen Kennedy supporting this picture, and I think this is exactly as it should be. Rian is not making The Last Jedi in a vacuum - he is building it on the foundation set by The Force Awakens, and had a say on the development and presentation of that film so that it would weave seamlessly into his movie. Rian even reiterated this sentiment himself in the mainVanity Fair article on The Last Jedi:
J.J. and Larry and Michael set everybody up in a really evocative way in VII and started them on a trajectory.
Rian is insistent on stressing his independence as a filmmaker at every stage because people are keen to paint him as a slave to the Walt Disney Company’s whims. At every turn, he has to deal with people assuming that The Last Jedi will repeat the trick played by The Force Awakens by mirroring its famous and beloved antecedent - for The Force Awakens this was Star Wars, and people expect it to be The Empire Strikes Back for The Last Jedi. Understandably, Rian wants to stress that The Last Jedi is his baby - it’s infused with his own creativity rather than studio notes and nostalgia.
But, at the same time, that doesn’t mean that Rian can do whatever the hell he wants. I can almost guarantee that Rian would have received furious correctional notes if he had tried to pitch a story where Rey Rey Binks died in the second act. There will be certain strands established in The Force Awakens that The Last Jedi will nurture and evolve, and Rian will be taking pre-existing characters and relationships and building on them further. As Pablo appeased an anxious fan on Twitter:
In short, there absolutely is collaboration - between the individual filmmakers, and between the filmmakers and Lucasfilm. Rian is free to tell the story he wants to tell, but that story has a baseline in The Force Awakens and also has a responsibility to establish a platform for Colin Trevorrow to build on with Episode IX. The filmmakers are talking to each other, and there is absolutely collaboration and handoff between them so that these film will ultimately make sense as a trilogy as well as on their own terms.
In other words, I really don’t see much to worry about. I have seen nothing but praise for the script for The Last Jedi, and Rian’s filmography amply demonstrates his talent as both a writer and a director.
I’m as excited for The Last Jedi as I ever was, so I hope I’ve been able to put some people’s minds to rest with this. Bring on December!
We all know the t-shirt thing! It was a big deal in season 3. Even and Isak wearing white t-shirts, when everything was great. Then they both wore black t-shirts when Even was depressed, and then back to white again, when Even was feeling better again? Isak was even wearing a t-shirt with Edward Munch’s Skrik, when he didn´t have contact with Even and didn’t know what was going on. There’s a lot of symbolism in their t-shirts - and we had no chill over it last season. Not to mention the Jesus tee, that both Eskild, Even and Isak has shared.
This season so far, all of their t-shirts has been white (when their t-shirts has been visible). When they were moving in together, when they were making out in the classroom, when meeting in the hallway (we couldn’t see Isak’s t-shirt there), and at the karaoke bar. All white tees. everything is great!
But then I went back to these spoiler pictures. An noticed Isak’s t-shirt!
Isak is wearing a black t-shirt!!… I may be hella reaching now, but I am slightly freaking myself out atm. This is the bruised-Isak pic, that was released before the fight, but as written earlier, it adds up to the black eye in the hiatus trailer. So this is something happening in the near future - most likely in eps. 6, if you ask me.
A lot of people has also suggested, that Isak is carrying Even’s denim jacket. It’s hard to see though, but he usually don’t wear this color jacket. Last time Even was at home being depressed, Isak wore his jacket to school?? Tell me I am delusional, please. (the jacked thing has been cleared up. I was delusional!)
I am so concerned for Even, I can’t help it. How is he dealing with all this? I know Isak was the one physically hurt, but this could effect Even a whole lot mentally. He doesn’t shy away from blaming himself, and this conversation is just stuck in my head (even though it happened on Even’s lowest)
- “Jeg bare vet at det her ikke kommer til å funke.” (I know this is not going to work out)
- “Hvorfor sier du det?” (Why do say that?)
- “Fordi det er sant. Jeg kommer bare til å såre deg. Og så kommer du til å hate meg.” (because it’s true. I am going to hurt you. And then you are going to hate me)
I need something to calm me down. I should not use the hiatus to freak myself out like this. I am in nodoubt Evak will be fine. But right now I’m worrying about Even and about Isak.
Arthur: Have you seen the flying ca- er... *clears throat* sooo where are the boys?
((OOC: And we all know how that turned out.
Seriously, thank you guys so much for participating in my first ever stand alone rp! I’ve only ever done collabs with other people, and this was the first time I’ve ever done something with just me. This blog is so young, yet I’ve already got some amazing followers, and I can’t wait to keep doing more stuff with you guys!))
One thing I will never be over is Oliver’s left hand when he
wraps it around Felicity’s back right before he picks her up.
… his fingers graze her hair, a soft, cool contrast to
her heated skin. She pants his name their breath mingling, making the air hot. She
arches into him, pressing her lips to his temple and forehead, dropping tiny, loving kisses
along his hairline. She wraps her arms around his head, cradling him, pulling
him closer. He wants to touch her everywhere and anywhere at the same time. He
drags his hands her spine, reveling in how her gentle muscles react to his
touch. He kisses her chest, tasting her, eliciting the most beautiful
breathless whimpers from her. His tongue traces her collarbone before he dips
his head, his stubbled chin slipping over the top of her breasts. He wants to
lean her back and wrap his lips around one of her nipples, but at the same time
he wants to keep her close, wants to feel every inch of her pressed against him
as tightly as possible.
She’s life and light and sunshine and happiness and purity
and it’s more addicting than he could have ever dreamed.
Her hips rock against him, her heated core grinding against his
hardness, the seams of their pants pressed tightly together. Hot needy desire
rockets through him and he moans her name in such a way that it makes her
shiver, sending goosebumps erupting across her back. His skin burns for her,
his body yearns towards hers…
One hand slips down over her hip, sliding over her
delectable ass that he’s been dreaming about for years now as he wraps his other
arm around her back. She surrounds him, taking over everything, drowning him in her
love and for that one single second, he lets go, he gives her all that he is,
letting her in so completely that he doesn’t know where she starts and he ends.
He needs to be closer, needs to feel as much of as her as he can, needs to cherish as much of this - of her - as possible because some tiny part of him knows that this moment - this precious, perfect moment where everything he never though he’d get, everything he never believed he deserved - won’t last forever…
The moment that really, really slayed me here was when his fingers slide under her arm,
over the sensitive skin there, brushing against the inside of her left arm. It’s
so intimate, startlingly so. They’re both naked, in so many more ways than the physical sense,
and every single time I see his fingers slipping under there right before he
picks her up, right before he digs his fingers in to hold her closer, it strikes me again how incredibly tender this moment is.
This scene is so magical, so intense, so intimate and gorgeous and beautiful and loving and it still kills me dead.